Audio Physic Avantera Loudspeaker (TAS 220)
Audio Physic Avantera Loudspeaker (TAS 220)
Audio Physic Avantera Loudspeaker (TAS 220)
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<strong>Audio</strong> <strong>Physic</strong> <strong>Avantera</strong> <strong>Loudspeaker</strong> (<strong>TAS</strong> <strong>220</strong>)<br />
You Little Wonder, You!<br />
January 9th, 2012 -- by Jonathan Valin<br />
Source: The Absolute Sound<br />
<strong>TAS</strong>’s 2011 Overall Product of the Year award winners, the $60k Magico Q5 and the near-$100k<br />
Rockport Altair, may be the highest-fidelity dynamic loudspeakers that a whole lot of money can<br />
currently buy, but that doesn’t mean that there aren’t other cone speakers out there that do many of the<br />
things that the Magicos and the Rockports<br />
do, and for considerably less dough. Take,<br />
for instance, the new three-and-halfway<br />
floorstanding $27k <strong>Avantera</strong> from the 25year-old<br />
German loudspeaker manufacturer,<br />
<strong>Audio</strong> <strong>Physic</strong>.<br />
While the <strong>Avantera</strong>s don’t have beryllium<br />
tweeters, carbon-fiber-Rohacell-sandwich<br />
drivers, and massive aluminum or svelte<br />
fiberglass enclosures—and are considerably<br />
smaller and daintier than either the<br />
monolithic Magicos or the windswept<br />
Rockports—it might surprise you to know<br />
how close they come to the world-class<br />
sonics of the Big Boys (and how much solid<br />
engineering has gone into making them<br />
sound the way they do). These are German<br />
loudspeakers, after all, made by a company<br />
whose motto is “No loss of fine detail.” By<br />
this phrase AP doesn’t just mean the loss of<br />
musical detail (although that is its primary<br />
meaning). The <strong>Avantera</strong>s have been<br />
meticulously crafted and then voiced by<br />
genuine music lovers to achieve “no loss of<br />
fine detail” in playback by assuring that<br />
there is no loss of fine detail in design and<br />
build.<br />
That design-and-build starts with an<br />
enclosure that, in some ways, reminds me<br />
of the M Series Magicos, in that the<br />
<strong>Avantera</strong>’s forward-firing high-frequency,<br />
midrange, and lower midrange cones are<br />
flush-mounted behind a one-half-inch-thick<br />
T-6 aluminum faceplate that, like the T-6<br />
aluminum faceplate of the Magico Mini and<br />
M5, is radiussed at the edges to serves as an
inert, resonance-and-diffraction-free platform for the three drivers that handle almost all of the music—<br />
the frequencies from roughly 150Hz up. As was the case with the M Series Magicos, the rest of the<br />
<strong>Avantera</strong>’s enclosure is heavily braced wood—well, MDF in the <strong>Avantera</strong>’s case—with an elaborate<br />
internal architecture of open and sealed chambers, designed (as is every other part of the speaker,<br />
including its optional, highly recommended VCF feet) by AP’s brilliant chief engineer Manfred<br />
Diestertich to lower typical cone colorations and facilitate the smooth blending of the drivers.<br />
Since the days when Joachim Gerhard ruled the roost, <strong>Audio</strong> <strong>Physic</strong> has used “narrow-baffle” cabinets,<br />
and the <strong>Avantera</strong>’s front panel is a mere 9.4" wide. Though narrow baffles (when properly designed)<br />
unquestionably allow loudspeakers to better “disappear” as sound sources—and the <strong>Avantera</strong> does this<br />
as well as any speaker I’ve reviewed—they can also create what is known as a baffle-step issue. For<br />
those of you who don’t know what this phrase means, “baffle-step issue” refers to suckout in the allimportant<br />
power range, between approximately 100Hz and 500Hz. This suckout occurs when the<br />
wavelengths that the midrange driver is reproducing are longer than the (narrow) baffle the midrange<br />
cone is mounted on. In the absence of a wider baffle, these longer wavelengths “wrap around” the<br />
enclosure, and the driver starts to work in a 4pi (omnidirectional) radiation pattern instead of a 2pi<br />
(hemispherical) one. The consequent reduction in acoustic efficiency (there is substantially less sonic<br />
energy directed toward you, the listener, in those frequencies that are being radiated omnidirectionally<br />
than in those that are radiated hemispherically) can in turn produce an acoustic hole—a valley as deep<br />
as 6dB in the lower midband and upper bass, easily heard as a marked thinning down of timbre, power,<br />
and body.<br />
Though certain reviewers seem to feel that this baffle step issue just “comes with the territory” of<br />
narrow-front loudspeakers—and can only be corrected by DSP or tone controls—designers like<br />
Diestertich aren’t as oblivious to the problem as these Doubting Thomases seem to think. By ensuring<br />
that the midrange driver (in the <strong>Avantera</strong>’s case, the separate 5.9" lower-midrange driver) is capable of<br />
operating linearly down to 100Hz, and side-mounting the 7" woofers on a narrow baffle (in the<br />
<strong>Avantera</strong>’s case, four woofs per speaker, two on each side, operating in a push-push configuration that<br />
cancels out cabinet vibration), and setting the crossover between the woofers and the lower midrange<br />
driver at 150Hz, you get the RTA printed at the top of p. 104.<br />
See any baffle-step problem here? I don’t. Nor, more importantly, do I hear one. Indeed, this graph<br />
(taken at 5dB/division and one-sixth-octave smoothed) is high among the most linear in-room<br />
frequency-response charts I’ve taken—not just through the power range but overall.<br />
Though I am anything but a measurement-first kind of listener and take these RTAs (via Dayton<br />
<strong>Audio</strong>’s fabulous OmniMic Precision Measurement System) only after weeks or months of listening,<br />
I’ve found that—regardless of the relative coarseness of such metrics compared to the wonders of the<br />
human ear—they do reflect the tonal balance I hear in my listening room with my ancillary gear. The<br />
plain truth is that the <strong>Avantera</strong> not only measures as if it is a superlative single-driver speaker; it sounds<br />
that way.<br />
Beyond the highly engineered enclosure, a good deal of the credit for this feat has to go to the<br />
Diestertich-designed drivers (made for the company, using AP tools, by a company founded by former<br />
VIFA engineers). While they may not have the sex appeal of Magico’s and Rockport’s carbon-fibersandwich<br />
numbers, AP’s cones are—trust me—very high-tech and exceptionally well blended. Indeed,<br />
the <strong>Avantera</strong>’s tweeter, midrange, and lower midrange have much the same octave-to-octave<br />
seamlessness and “single-driver” sound as the tweeter and mid/woof in the most seamless cone speaker<br />
I’ve heard to date, the Magico Q1 (reviewed in our last issue), bespeaking extremely high linearity and<br />
low distortion.<br />
Let’s take a closer look at those drivers, starting with the <strong>Avantera</strong>’s unusual tweeter. As AP points out
on its Web site, standard dome tweeters are inherently prone to bad behavior (they tend to ring at their<br />
apex and are, in any case, tricky to drive uniformly precisely because of their dome shape). To solve<br />
this problem, AP developed a tiny (1.75" diameter) cone tweeter with an exceptionally light, stiff,<br />
ceramic-coated-aluminum diaphragm. (All of the <strong>Avantera</strong>’s drivers’ diaphragms are made of ceramiccoated<br />
aluminum, which, Chief Designer Diestertich says, is “one of the many reasons why the<br />
<strong>Avantera</strong>’s drivers integrate so well.”) Called the Hyper-Holographic Cone Tweeter II or HHCT II, it is,<br />
according to AP (which appears to be fond of coining its own catch phrases), “the tweeter you can’t<br />
hear.”<br />
Generally, there is more than a little seaweed in claims of this sort, but the plain truth is you can’t hear<br />
the HHCT II—or, at least, I can’t—the way I can hear, oh, the Magico beryllium dome tweeter in the<br />
Q5 (on-axis) or (very very slightly) the ribbon tweeter in the Maggie 3.7. Like the new Be tweeter in<br />
the Q1—maybe even more so—the HHCT II just isn’t there as a separate and separable element of the<br />
sonic presentation, which, of course, means that the treble range (along with the bass, the trickiest thing<br />
for a multiway dynamic to get right) is superb. The high end of the <strong>Avantera</strong> strongly reminds me of the<br />
high end of the Magico M5 (not its only resemblance to that great speaker, BTW) in that you’re simply<br />
not aware of the tweeter’s presence until something high in pitch with a good deal of transient energy—<br />
like Butch Miles’ cymbal work on Reference Recordings’ superb new LP version of From the Age of<br />
Swing or the “Bartók pizzicatos” in the (all-pizzicato) fourth movement of the Juilliard Quartet’s<br />
sizzling performance of Bartók’s Fourth String Quartet [Columbia 1963]—comes along, and the<br />
instruments and the performers simply pop out like heads through a curtain, fully fleshed, precisely<br />
focused where they should be on stage, without any loss of color on steady-state tone or intensity on<br />
attack or duration on decay. Nothing is missing, although it may seem so at first because, for once,<br />
nothing is added—none of the forwardness or raggedness or extra emphasis that you so often hear with<br />
metallic dome tweeters. (The slight “Gundry dip” probably plays a part in the <strong>Avantera</strong>’s unusually<br />
civilized top end.)<br />
Of course, disappearing acts in a multiway dynamic loudspeaker aren’t attributable to the excellence of<br />
a single driver. Great treble—and the <strong>Avantera</strong> has great treble—is a two-way street. To make the<br />
tweeter as invisible as it is, the midrange to which it crosses over must also be invisible, sonically. Its<br />
out-of-passband breakup modes must be successfully lowered so they don’t “rough up” the presence<br />
and brilliance ranges where the baton is passed to the tweet. Here the blend of midrange and tweeter<br />
(and subsequently of midrange and lower midrange drivers) is as seamless as I’ve yet heard in any cone<br />
speaker.<br />
Everything that I said about the HHCT II is equally true of the two ceramic-coated aluminum 5.9"<br />
Hyper-Holographic Cone Midranges (HHCM) used for the midband and lower midband. The <strong>Avantera</strong><br />
boasts a simply superb blend of its smallish, featherweight, high-resolution, very-low-distortion drivers<br />
—not a one of which can be isolated by ear (or, at least, by my ears and those of friends who’ve heard<br />
the speaker). Demure as these drivers are (and as the speaker enclosure is), no instrument gets lightened<br />
up or thinned down by the <strong>Avantera</strong>. As demonstrated in the RTA above, its response through the allimportant<br />
power range from 100Hz to 500Hz is textbook. Thus, when something like the horn section<br />
rolls in midway through ”You’re Driving Me Crazy/Moten Swing” from The Age of Swing, it rolls in<br />
with the impact of beach break at high tide. Density of tone color and sheer instrumental weight are<br />
sensationally lifelike on trombone, sax, trumpet. You would not expect such acoustic power from such<br />
a trim speaker, and yet you get it in the same way as you get everything up top—without any losses,<br />
false emphases, colorations, or discontinuities.<br />
As good as it is with large-scale stuff in the midband, the <strong>Avantera</strong> is just as good with small. (Not for<br />
naught that motto: “No loss of fine detail.”) The little things that trip up most dynamic loudspeakers—<br />
such as Joan Baez and Alison Kraus and Melody Gardot’s vibrato or, to use an example I cited earlier,
the difference between the plucked-string snap of a standard pizzicato and the sharp slap of that string<br />
against the fingerboard on a Bartók pizzicato—the little things that go such a long way toward<br />
describing the human intersection between music and instrument are here captured with exceptional<br />
clarity (and with no loss in density of tone color or dynamic speed and weight at low levels or high<br />
ones). I have heard the <strong>Avantera</strong>s resolve musical (and engineering) details that only a very few other<br />
cone speakers are capable of reproducing this clearly and completely: backup vocals and instrumental<br />
and electronic fillips on the Talking Heads’ thrillingly “alive” (albeit somewhat dry and digital) Stop<br />
Making Sense or inner string, wind, and brass voices on the orchestral tuttis of that old RCA chestnut<br />
Venice. No, the <strong>Avantera</strong>s don’t quite equal the low-level resolution of a $60k Magico Q5 or a<br />
MartinLogan CLX electrostat. But they are at least the equals of the Magico M5s in this regard—near-<br />
$100k loudspeakers that, no more than a year or so ago, were paragons of low-level resolution in<br />
dynamic loudspeakers. As a result, the <strong>Avantera</strong>s are capable of sounding very close to real on select<br />
vocals and instrumentals.<br />
I guess I should also note that, dynamically, these little speakers are veritable sticks of dynamite and, if<br />
it isn’t already obvious, superb soundstagers—going as wide and deep and tall as any speakers I’ve<br />
heard short of omnis. However, unlike certain omnis, their staging isn’t one-size-fits-all—it is always<br />
commensurate with what was recorded—while their imaging has the precision and front-to-back, sideto-side<br />
clarity of a mini-monitor with none of a mini’s reduction in natural image size.<br />
Where aren’t the <strong>Avantera</strong>s world-beaters? Well…you may have noticed that I haven’t talked about<br />
their bass yet. Lest you think I’m about to spring a “gotcha,” rest assured that the <strong>Avantera</strong>s’ low end—<br />
and the blend of those side-firing woofers with the other drivers—is superb, where the speakers play.<br />
The only question is where do they play? When I heard the <strong>Avantera</strong>s a few months ago at RMAF, they<br />
seemed to be limitless in low-end extension and power delivery. On really high-energy, deep-reaching<br />
music—such as the drum break on Clearaudio’s Percussion Record or the wild and wooly orchestral<br />
tuttis at the close of Ponchielli’s “Dance of the Hours” from Venice—they shook me (and the room)<br />
like no other speaker at the Denver show, save for the Estelon XA-Ds.<br />
In my digs, however, things are a bit different. Probably because I have the speakers considerably<br />
farther out from the sidewalls than importer Reinhard Goerner did at RMAF (and than AP recommends<br />
in its excellent set-up guide), I’m not getting the reinforcement in the low bass that Reinhard got. As a<br />
result, as you can see from my RTA, really low end is a bit curtailed—the speaker is flat to about 44Hz<br />
(vis-à-vis 1kHz), down approximately 4dB at 40Hz, 6dB at 35Hz, and better than 12dB at 30Hz (once<br />
again, in my room with my setup).<br />
Of course, this is scarcely shabby bass response for any speaker, much less one that is a mere 9.4" wide<br />
and 16.5" deep. But the quality of the low bass is also a little ambiguous. I’m guessing here, but I’d<br />
wager that the <strong>Avantera</strong>’s MDF enclosures—as highly engineered and beautifully built as they are—<br />
may be storing and adding a little of their own energy to the soundfield, in the same way that the M5s<br />
stacked birch enclosures were. In any event, the <strong>Avantera</strong>s’ deep bass sounds a wee bit little less well<br />
resolved than the current ne plus ultra in dynamics, the Q5. Though neither muddied nor masked,<br />
things like Tina’s bass intro to “Take Me to the River” or that solid block of bass guitar that ascends<br />
like it’s on risers beneath the guitars, dobros, and mandolins midway through Alison Krauss’ rousing<br />
live version of “Forget About It” aren’t quite as crisply defined or as room-rattlingly energizing as they<br />
are through the Q5s. On the other hand, on bass passages within their range of flat response—such as<br />
the deep, pounding chords that end the first movement of Paul Dessau’s romantic First Piano Sonata or<br />
the cello marcatos, glissandos, and pizzicatos of Bartok’s Fourth Quartet—every note at every dynamic<br />
is presented with an intensity, clarity, focus, and naturally full and rich timbre that seamlessly match<br />
that of the midrange and treble.<br />
I guess what I am saying is that I don’t know whether the <strong>Avantera</strong>’s low bass typically sounds the way
it does in my room or the somewhat more extended and explosive way it did in Denver. Which is<br />
another way of saying that you will need to experiment with placement (closer than usual to sidewalls,<br />
as AP suggests) if you’re not getting all the very low end you want.<br />
One thing you will not have to trouble yourself about is amplification. The speaker is a benign 4-ohm<br />
load rated at 89dB sensitivity. I’ve heard it sound great (in Denver) with a relatively low-powered<br />
solid-state integrated amp and equally great in my place with powerful tube monoblocks.<br />
It should be obvious that the <strong>Audio</strong> <strong>Physic</strong> <strong>Avantera</strong>s easily earn my highest recommendation for all<br />
three types of listeners—“absolute sound,” “fidelity to mastertapes,” and “as you like it.” Beautifully<br />
engineered, beautifully built, and beautiful to hear, they offer a startling amount of the transparency and<br />
lifelike realism of the very best dynamic speakers I’ve heard—and are arguably better blended than<br />
several of those paragons. Though not quite as ultra-finely detailed in the midband as something like a<br />
Q5 (nor as deep-reaching, well-defined, and explosively dynamic in the very low bass—at least in my<br />
room), they come so close to this ideal for so much less money that I find them downright irresistible. I<br />
think a good many of you will, too. To get this kind of natural timbral warmth, weight, power,<br />
resolution, extension, and top-to-bottom seamlessness in such a small, stylish package is rare, indeed. It<br />
just goes to show (yet again) what a world-class engineer with great ears, such as AP’s Manfred<br />
Diestertich, can accomplish.<br />
SPECS & PRICING<br />
Type: Floorstanding three-and-a-halfway dynamicloudspeaker in a dual-portedenclosure with sidefiring<br />
woofers<br />
Drivers: One 1.75" ceramic-coated aluminum cone tweeter,two 5.9" ceramic-coated aluminum cone<br />
midrange, four 7" ceramic-coated aluminum cone woofers<br />
Crossover points: 150Hz,2.8kHz<br />
Frequency response: 25Hz–40kHz<br />
Sensitivity: 89dB<br />
Impedance: 4 ohms<br />
Recommended amplifier power: 40–250W<br />
Dimensions: 9.4" x 45.3" x 16.5"<br />
Weight: 88 lbs. each<br />
Price: $27,000<br />
Goerner Communcation (U.S. Distributor)<br />
91 18th Avenue<br />
Deux-Montagnes, Quebec, Canada J7R4A6<br />
(514) 833-1977<br />
info@goernercommunication.com